Pub Date : 2022-09-05DOI: 10.1080/19472498.2022.2120244
Christina Oesterheld
ABSTRACT Based on texts dealing with life in North Indian Muslim households of the second half of the nineteenth century, covering genres such as didactic tales, letters, guidebooks, and an autobiographical narrative, this essay looks at the representation of master-servant relationships as presented in these texts from the perspective of the master/mistress. As this was a period of transformation when traditional aristocratic households were gradually replaced by the new middle class, this essay, through a close textual analysis, underscores the gap between the normative and actual behaviour of the employing class, underlining the changes that came about with respect to the service classes while it attempted to maintain or acquire respectability on reduced incomes.
{"title":"Between trust and mistrust: master-servant relationships in Urdu writings of the 1860s–early 1900s","authors":"Christina Oesterheld","doi":"10.1080/19472498.2022.2120244","DOIUrl":"https://doi.org/10.1080/19472498.2022.2120244","url":null,"abstract":"ABSTRACT Based on texts dealing with life in North Indian Muslim households of the second half of the nineteenth century, covering genres such as didactic tales, letters, guidebooks, and an autobiographical narrative, this essay looks at the representation of master-servant relationships as presented in these texts from the perspective of the master/mistress. As this was a period of transformation when traditional aristocratic households were gradually replaced by the new middle class, this essay, through a close textual analysis, underscores the gap between the normative and actual behaviour of the employing class, underlining the changes that came about with respect to the service classes while it attempted to maintain or acquire respectability on reduced incomes.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"13 1","pages":"481 - 497"},"PeriodicalIF":0.5,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42790885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/19472498.2022.2120243
Lubna Irfan
ABSTRACT The nature of service and submission in Mughal India was starkly different from modern times. The rhetoric of complete submission to the person of the Emperor guided the social relations of all orders. A reflection of this must have been experienced at the level of the household service gentry. Important elements in this service class were chelas (freed male slaves), sahelis (freed slave-girls) and khwajasaras (eunuchs). All three sections had an ambiguous placement in the social order. The chelas and sahelis were in principle free but their social realities and the nature of their services were similar to that of slaves. Eunuchs, on the other hand, provided widely varied services, ranging from administrative duties to mere harem attendance. The conditions of all these groups depended largely on the interactions between them and their immediate masters. The paper explores the dynamics of the varying nature of social realities and mobility experienced by these different sections, locating them within class and gender contexts.
{"title":"Nature of slavery and servitude in Mughal India","authors":"Lubna Irfan","doi":"10.1080/19472498.2022.2120243","DOIUrl":"https://doi.org/10.1080/19472498.2022.2120243","url":null,"abstract":"ABSTRACT The nature of service and submission in Mughal India was starkly different from modern times. The rhetoric of complete submission to the person of the Emperor guided the social relations of all orders. A reflection of this must have been experienced at the level of the household service gentry. Important elements in this service class were chelas (freed male slaves), sahelis (freed slave-girls) and khwajasaras (eunuchs). All three sections had an ambiguous placement in the social order. The chelas and sahelis were in principle free but their social realities and the nature of their services were similar to that of slaves. Eunuchs, on the other hand, provided widely varied services, ranging from administrative duties to mere harem attendance. The conditions of all these groups depended largely on the interactions between them and their immediate masters. The paper explores the dynamics of the varying nature of social realities and mobility experienced by these different sections, locating them within class and gender contexts.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"13 1","pages":"466 - 480"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44446215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-22DOI: 10.1080/19472498.2022.2114954
Ana Paula P. Da Fonseca
{"title":"Partisan Aesthetics: Modern Art and India’s Long Decolonization","authors":"Ana Paula P. Da Fonseca","doi":"10.1080/19472498.2022.2114954","DOIUrl":"https://doi.org/10.1080/19472498.2022.2114954","url":null,"abstract":"","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"98 - 100"},"PeriodicalIF":0.5,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48484376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-21DOI: 10.1080/19472498.2022.2114952
A. Lanzillo
{"title":"Meat, Mercy, Morality: Animals and Humanitarianism in Colonial Bengal 1850-1920","authors":"A. Lanzillo","doi":"10.1080/19472498.2022.2114952","DOIUrl":"https://doi.org/10.1080/19472498.2022.2114952","url":null,"abstract":"","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"93 - 95"},"PeriodicalIF":0.5,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44774230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-11DOI: 10.1080/19472498.2022.2101761
Anurima Banerji
ABSTRACT In 2015, a coalition of artists in India launched a protest against the ruling establishment, returning their awards to the government in response to a series of attacks on minorities and dissident thinkers that had remained unacknowledged or insufficiently condemned by the state. Known as “Award Wapsi” (award return’ in Hindi), this was notably the first artist action of its kind in independent India, with artmakers from diverse domains participating in it. However, dancers were notably missing from the scene of this historic non-violent action. Those artists most invested in the idea of movement abandoned the protest movement. Moreover, this controversy elicited a fierce backlash, with a group of pro-government artists coordinating a counter-protest against their rebelling peers, with dancers represented among the ranks of those supporting the state. This paper considers the absence of dancers from oppositional organizing, and the presence of dancers in movements allied with the ruling regime, to think about the changing perceptions of political activism and the place of the artist in contemporary Indian society.
{"title":"The award-wapsi controversy in India and the politics of dance","authors":"Anurima Banerji","doi":"10.1080/19472498.2022.2101761","DOIUrl":"https://doi.org/10.1080/19472498.2022.2101761","url":null,"abstract":"ABSTRACT In 2015, a coalition of artists in India launched a protest against the ruling establishment, returning their awards to the government in response to a series of attacks on minorities and dissident thinkers that had remained unacknowledged or insufficiently condemned by the state. Known as “Award Wapsi” (award return’ in Hindi), this was notably the first artist action of its kind in independent India, with artmakers from diverse domains participating in it. However, dancers were notably missing from the scene of this historic non-violent action. Those artists most invested in the idea of movement abandoned the protest movement. Moreover, this controversy elicited a fierce backlash, with a group of pro-government artists coordinating a counter-protest against their rebelling peers, with dancers represented among the ranks of those supporting the state. This paper considers the absence of dancers from oppositional organizing, and the presence of dancers in movements allied with the ruling regime, to think about the changing perceptions of political activism and the place of the artist in contemporary Indian society.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"263 - 284"},"PeriodicalIF":0.5,"publicationDate":"2022-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44415266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the Late Qing Dynasty, while a large number of foreign literary translations entered China with national revolution gathered paces, there were also some works created by Chinese people under the guise of translation. Such works are known as “pseudo-translation” works. This paper attempts to argue for the existence of pseudo-translations in the translations of the first series of detective novels, Chinese, in terms of the conversion of signature, the application of flashback, and the remains of female aesthetics.
{"title":"An Analysis of the Characteristics of Pseudo Detective Translation in Late Qing Dynasty—With Zhang Kunde’s Translation as Example","authors":"Wendai Yang, Wenjuan He","doi":"10.5539/ach.v14n2p18","DOIUrl":"https://doi.org/10.5539/ach.v14n2p18","url":null,"abstract":"In the Late Qing Dynasty, while a large number of foreign literary translations entered China with national revolution gathered paces, there were also some works created by Chinese people under the guise of translation. Such works are known as “pseudo-translation” works. This paper attempts to argue for the existence of pseudo-translations in the translations of the first series of detective novels, Chinese, in terms of the conversion of signature, the application of flashback, and the remains of female aesthetics.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"5 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74393036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.1080/19472498.2022.2101762
S. Bhattacharya
ABSTRACT In this paper, I attempt to study the different determinants of cinematic masculinities, the gendered bodies of male performer figures and their changing patterns with reference to film dance from the 1980s-1990s period of Bengali popular cinema. This paper explores how the inclusion of performative male bodies in the dance numbers brought a distinct imagination of masculinity and flamboyance, thereby disrupting the established idea of the bhadra (the polished and gentle class of Bengal) hero of Bengali cinema. In the first section of my article, I focus on how the disco sensation and its cinematic registers took a new form with Mithun Chakraborty’s figuration in Bengali film dances. The second section studies how this pattern of dancing male bodies and its flamboyance changed in the later period when the imagination of a working class male protagonist intervened in film dance in the 1990s. In brief, I try to read the shifting imaginations of masculinities in Bengali film dance from the disco flamboyance and ‘global-national-popular model’ of Mithun Chakraborty’s star persona in the 1980s to the more localized and hybrid form of dance idioms in Prosenjit’s iconic film roles in a later period.
{"title":"Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema","authors":"S. Bhattacharya","doi":"10.1080/19472498.2022.2101762","DOIUrl":"https://doi.org/10.1080/19472498.2022.2101762","url":null,"abstract":"ABSTRACT In this paper, I attempt to study the different determinants of cinematic masculinities, the gendered bodies of male performer figures and their changing patterns with reference to film dance from the 1980s-1990s period of Bengali popular cinema. This paper explores how the inclusion of performative male bodies in the dance numbers brought a distinct imagination of masculinity and flamboyance, thereby disrupting the established idea of the bhadra (the polished and gentle class of Bengal) hero of Bengali cinema. In the first section of my article, I focus on how the disco sensation and its cinematic registers took a new form with Mithun Chakraborty’s figuration in Bengali film dances. The second section studies how this pattern of dancing male bodies and its flamboyance changed in the later period when the imagination of a working class male protagonist intervened in film dance in the 1990s. In brief, I try to read the shifting imaginations of masculinities in Bengali film dance from the disco flamboyance and ‘global-national-popular model’ of Mithun Chakraborty’s star persona in the 1980s to the more localized and hybrid form of dance idioms in Prosenjit’s iconic film roles in a later period.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"224 - 236"},"PeriodicalIF":0.5,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45704857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this research, the facts of Pāzand and the rules of Pāzand writing will be examined. According to the findings of this research, the texts of Pāzand written by Parsī Pāzand writers in India are in Parsī Gujarātī language and the rules of Pāzand are completely related to the rules that exist in pārsī Gujarātī language. In the texts of Pāzand written by Parsī Pāzand writers, the rules of Gujarātī language and dialectal rules of Pārsī Gujarātī language have been observed. In this research, all the rules are given with examples and examined and analyzed. Also, examples of words that exist in parsī Gujarātī language are given from the first five chapters of the text of Shikand Gumānīk Vichār in order to become more familiar with the rules and types of words in this language. The author of this article, who is fully acquainted with Hindī, Urdū and Gujarātī languages, has found and studied all these words in these languages. This article is the result of a discovery made for the first time in the world by its author.
{"title":"Pāzand Facts and General Rules of Pāzand Writing","authors":"Poorchista Goshtasbi Ardakany","doi":"10.5539/ach.v14n2p1","DOIUrl":"https://doi.org/10.5539/ach.v14n2p1","url":null,"abstract":"In this research, the facts of Pāzand and the rules of Pāzand writing will be examined. According to the findings of this research, the texts of Pāzand written by Parsī Pāzand writers in India are in Parsī Gujarātī language and the rules of Pāzand are completely related to the rules that exist in pārsī Gujarātī language. In the texts of Pāzand written by Parsī Pāzand writers, the rules of Gujarātī language and dialectal rules of Pārsī Gujarātī language have been observed. In this research, all the rules are given with examples and examined and analyzed. Also, examples of words that exist in parsī Gujarātī language are given from the first five chapters of the text of Shikand Gumānīk Vichār in order to become more familiar with the rules and types of words in this language. The author of this article, who is fully acquainted with Hindī, Urdū and Gujarātī languages, has found and studied all these words in these languages. This article is the result of a discovery made for the first time in the world by its author.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"13 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72519454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-13DOI: 10.1080/19472498.2022.2097435
Madhuja Mukherjee
ABSTRACT This paper is an attempt to reimagine the function of the dancing body of Sitara Devi in the topography of Hindi popular films from the 1930s to 1950s. A legendary Kathak dancer, Sitara Devi started performing in films during her teens, and essayed multiple roles as an actor, singer and dancer. Her film career was on high tide during late ‘30s and ‘40s as she acted in a number of films including those which transpired through her collaborations and associations with celebrated filmmakers such as Mehboob Khan, K. Asif and Nazir Ahmed Khan. While most of her films have not survived in their material form, historical readings of Indian cinemas have also – broadly speaking – circumvented the question of dancing bodies, and the import of Sitara Devi’s star-persona in films. My enquiry, therefore, concerns film historiography and I use the gender lens to refocus the debates on cinema onto matters of women, performance, and on/off-screen figurations, and the films in which Sitara Devi played decisive roles fuel such explorations. I consider Ashish Rajadhyaksha’s article on Indian Filmography, which defines the work of the ‘filmographer’ as a ‘Sitara Devi Problem’, as a point of departure, and discuss her surviving films, alongside Saadat Hasan Manto’s landmark writing, Stars from Another Sky, to arrive at the larger ‘problem’ of historical analyses. I remap Sitara Devi’s presence in the texts, and her absences in film discourses, to rethink film histories.
摘要本文试图在20世纪30年代至50年代的印度流行电影地形中重新想象西塔拉·德维的舞蹈身体的功能。作为一名传奇的卡塔克舞者，西塔拉·德维在十几岁的时候就开始在电影中表演，并尝试过演员、歌手和舞者的多种角色。她的电影生涯在30年代末和40年代处于高潮，因为她出演了许多电影，包括那些通过她与著名电影制作人如Mehboob Khan, K. Asif和Nazir Ahmed Khan的合作和联系而发生的电影。虽然她的大部分电影都没有以物质形式保存下来，但对印度电影的历史解读也——广泛地说——回避了舞蹈身体的问题，以及西塔拉·德维在电影中明星形象的重要性。因此，我的研究涉及电影史学，我使用性别镜头将电影的辩论重新聚焦到女性、表演和银幕内外人物的问题上，而西塔拉·德维在其中扮演决定性角色的电影则推动了这种探索。我考虑Ashish Rajadhyaksha关于印度电影编撰的文章，该文章将“电影编撰者”的工作定义为“Sitara Devi问题”，作为一个出发点，并讨论她幸存的电影，以及Saadat Hasan Manto的里程碑式作品“来自另一个天空的星星”，以达到更大的历史分析“问题”。我重新映射了西塔拉·德维在文本中的存在，以及她在电影话语中的缺席，以重新思考电影史。
{"title":"The phantom of history: figurations of the dancing body and the ‘Sitara Devi problem’ of Indian cinema","authors":"Madhuja Mukherjee","doi":"10.1080/19472498.2022.2097435","DOIUrl":"https://doi.org/10.1080/19472498.2022.2097435","url":null,"abstract":"ABSTRACT This paper is an attempt to reimagine the function of the dancing body of Sitara Devi in the topography of Hindi popular films from the 1930s to 1950s. A legendary Kathak dancer, Sitara Devi started performing in films during her teens, and essayed multiple roles as an actor, singer and dancer. Her film career was on high tide during late ‘30s and ‘40s as she acted in a number of films including those which transpired through her collaborations and associations with celebrated filmmakers such as Mehboob Khan, K. Asif and Nazir Ahmed Khan. While most of her films have not survived in their material form, historical readings of Indian cinemas have also – broadly speaking – circumvented the question of dancing bodies, and the import of Sitara Devi’s star-persona in films. My enquiry, therefore, concerns film historiography and I use the gender lens to refocus the debates on cinema onto matters of women, performance, and on/off-screen figurations, and the films in which Sitara Devi played decisive roles fuel such explorations. I consider Ashish Rajadhyaksha’s article on Indian Filmography, which defines the work of the ‘filmographer’ as a ‘Sitara Devi Problem’, as a point of departure, and discuss her surviving films, alongside Saadat Hasan Manto’s landmark writing, Stars from Another Sky, to arrive at the larger ‘problem’ of historical analyses. I remap Sitara Devi’s presence in the texts, and her absences in film discourses, to rethink film histories.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"202 - 223"},"PeriodicalIF":0.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41443952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-05DOI: 10.1080/19472498.2022.2094948
Siddharth Satpathy
ABSTRACT Published in 1902, Fakir Mohan Senapati’s famous novel Six Acres and a Third sets up a parallel between the import of English commodities and English literary taste into Odisha in late nineteenth century. The paper takes this parallel as its point of departure to explore colonial Odia discourses on political economy and literary criticism, and goes on to study how they construct Odisha as a peripheral space. The paper finds that the public discussions on economy and literature shared a common ideological code. This code preferred to engage with history, whether economic or literary, by turning it into a moral question. This ideological code deeply informed the peripheral middle-class imagination, which often spoke for a working alliance between educated middle orders native aristocracy and colonial state for the sake of economic and literary progress in the region. The paper concludes by showing how this code was at work in Fakir Mohan, in his responses to colonialism, and in his engagement with a fundamental problem of the peripheral space, that of redundant capital. ‘Provincial Victorians’ refer to Fakir Mohan and several other public intellectuals of his generation who came to see themselves as inhabiting the economic and literary peripheries of the Victorian world system.
{"title":"Provincial victorians: global capital and literary taste in colonial Odisha","authors":"Siddharth Satpathy","doi":"10.1080/19472498.2022.2094948","DOIUrl":"https://doi.org/10.1080/19472498.2022.2094948","url":null,"abstract":"ABSTRACT Published in 1902, Fakir Mohan Senapati’s famous novel Six Acres and a Third sets up a parallel between the import of English commodities and English literary taste into Odisha in late nineteenth century. The paper takes this parallel as its point of departure to explore colonial Odia discourses on political economy and literary criticism, and goes on to study how they construct Odisha as a peripheral space. The paper finds that the public discussions on economy and literature shared a common ideological code. This code preferred to engage with history, whether economic or literary, by turning it into a moral question. This ideological code deeply informed the peripheral middle-class imagination, which often spoke for a working alliance between educated middle orders native aristocracy and colonial state for the sake of economic and literary progress in the region. The paper concludes by showing how this code was at work in Fakir Mohan, in his responses to colonialism, and in his engagement with a fundamental problem of the peripheral space, that of redundant capital. ‘Provincial Victorians’ refer to Fakir Mohan and several other public intellectuals of his generation who came to see themselves as inhabiting the economic and literary peripheries of the Victorian world system.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"529 - 546"},"PeriodicalIF":0.5,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45314118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：